Underdream Hygge Lodge

-1 TWO TEMPERAMENTS AND TWO SCALES OF THE SITE

The site is an independent old farm located outside a village at the foot of Cangshan Mountain. It is a long, narrow plot oriented east–west, with relatively shallow depth from north to south.

To the south, the land opens dramatically toward vast farmland, where the nineteen peaks of Cangshan undulate across the horizon in full view, evoking an expansive pastoral scene reminiscent of the poetic line, "Plucking chrysanthemums by the eastern fence, I leisurely glimpse the southern mountains."

Two natural scales can be experienced simultaneously on site. The first is an "intimate scale."

The second is a "landscape scale." To the south, Cangshan unfolds horizontally in a classic pingyuan (level-distance) composition, conveying a powerful sense of openness between heaven and earth.

-2 EARTH STONE WALLS: RESHAPING THE RELATIONSHIP BETWEEN INSIDE AND OUTSIDE

The existing red-brick and lightweight steel structures on site posed serious safety risks, requiring all new construction to be rebuilt in situ within the original building footprints.

The starting point of the design was how to re-activate the rich interactions between architecture and the natural environment.

The most important structural framework for shaping new spatial relationships is the "earth stone wall."

These walls run continuously through architecture and landscape, freely weaving between indoor and outdoor spaces while rising and falling with the terrain.

Upon this spatial skeleton, pitched roofs and flat roofs emerge in different forms according to functional needs and interior spatial intentions.

The earth stone walls draw strength from two dominant "forces" that connect the site to the broader landscape:

the pingyuan force of Cangshan facing the open farmland to the south, and the gaoyuan force of Cangshan facing the pond and lawn to the west.

The first sequence draws upon the pingyuan force of Cangshan and unfolds from north to south, beginning in a semi-enclosed inner courtyard.

Native large trees, broad-leaf shrubs, and flowing water extend the forest atmosphere of the nearby stream. The corner of the teahouse opens toward the courtyard, dissolving the boundary between architecture and nature.

Lightweight steel corridors link the surrounding spaces, while a long, transparent garden living room occupies the center of the southern side.

Sheltered beneath the walnut trees, one rests and relaxes as views gradually open toward the expansive farmland and Cangshan.

The journey ultimately reaches the edge of the pond, where the horizontally stretching peaks of Cangshan fill the entire field of vision.

The second sequence draws on the dramatic depth of the gaoyuan force from Cangshan to the west and unfolds from east to west.

In the distance, the mountains are framed between stone walls, large trees, and architecture, forming a vertical, axial composition.

Continuing westward to the pond's edge, architecture gradually recedes, and Cangshan becomes fully embraced by trees and reflected in the water, revealing another distinctive gaoyuan interpretation of the mountains within the site.

-3 A HOME BENEATH PITCHED ROOFS

Building No. 1, the "Farmhouse," originally had an L-shaped footprint. To adapt to this boundary, four-sided pitched roofs are interwoven with two stepped-back flat roofs.

Skylights and an east-facing dormer bring daylight and bamboo shadows deep into the interior.

Beneath the two west-facing terraces—where mountain views are at their best—are the ground-floor living room, a west-facing tatami seating corner, and the master bedroom on the second floor.

Building No. 2, the "Sunken Lounge Bar," was initially conceived as an open pavilion. Eight steel columns are concealed within short walls at the midpoints of each side, allowing the cantilevered pitched roof to open all four corners completely.

On the east side, a dual indoor–outdoor fireplace anchors the space; as people gather around the fire and their eye level lowers, the full silhouette of Cangshan gradually appears beneath the low eaves.

-4 THE MANOR HOTEL: WANDERING BETWEEN GARDENS AND MOUNTAINS

In the manor hotel, architecture serves merely as a medium through which guests perceive nature.

The true essence of the hotel lies in the gardens, trees, streams, ponds, lawns, farmland, Cangshan, clouds, and light—everything that nature offers on this site.

The tension and relaxation of the overall experience emerge from the interweaving, collaboration, reversal, and progression of nature across multiple scales.

The guest entrance is located within a quiet eucalyptus grove on the eastern edge of the site. The reception is a plant-covered greenhouse nestled among the trees.

Weathered wooden boards inside exude a rustic farm atmosphere, and as guests move among layers of plants of varying heights, both body and mind begin to unwind.

Beneath the black metal grilles of the porch, light dims; passing large-leaf plants around a corner, a tranquil inner garden accompanied by the sound of flowing water slowly emerges.

At the center of the garden is a teahouse beneath a pitched roof, its corner opened and hovering above the water.

Inside, guests sit close to the ground; though the teahouse itself is modest in size, opening the corner sliding doors draws the entire courtyard into the act of tea drinking.

the transparent garden living rooms on either side, connecting the courtyard with Cangshan beyond. Long and narrow in plan, these spaces become light transitional zones when all sliding doors are opened.

Seated here, one can look north toward the courtyard and teahouse, or south through the walnut grove toward distant Cangshan.

The double-height dining hall initiates another sequence of experiencing nature. Its 8.7-meter height lends a ceremonial quality to dining, while the low eaves of the pitched roof temper this grandeur to a comfortable human scale.

From here, the gaoyuan depth of Cangshan unfolds—from the nearby lawn, through flanking ruin stone walls and trees, and onward to Lan Peak, three kilometers away.

Passing through a low gate between stone walls and crossing the lawn westward leads into the territory of the Farmhouse. At the far end of the great lawn lies the site's largest pond.

Walking along the shaded path beside it, one is left with only gardens and distant mountains. This wandering between gardens and landscapes ultimately dissolves into boundless nature deep within the farm.

Courtyards, gardens, and plants form the fundamental backdrop of Dali's indigenous way of life. The manor's guest rooms ultimately place guests within quiet courtyards and greenery.

The entire manor contains only six guest rooms, each with its own private garden.

The boundaries of each room extend beyond floor-to-ceiling windows; the courtyard and garden are the true living spaces.

Here, plants, gardens, courtyards, and farmland together construct a renewed form of Dali's natural lifestyle. Both living and vacationing take on a rich slowness.